NO PLAYS EXCHANGED. 



DAHERo 



or 



Edition 

PL7\Y3 



13 



The Corner -Lot Chorus 



r, 1889, BY WALTFy H. BAKER & CO. 




piays for ^mateur 5l7eatrleals. 

BY GEORGE 2VT. BKKER. 

Author of ^'Amateur Dramas" "The Mimic Stage" "The Social Stage" "The Draining- 
Room Stage" "Hajidy Dratnas," '^The Exhibition Dramas" *'A Baker's Dozen," etc. 

Titles in this Type are New Plays. 

Titles in this Type are Temperance Plays, 



DRAMAS. 

In Fo2ir A cts. 
Better than Gold. 7 male, 4 female 



char. 



25 



In Three A cts. 

Our Follts. 6 male, 5 female char. . 15 

The Flower of the Family. 5 
male, 3 female char 15 

Enlisted for the War. 7 male, 3 fe- 
male char 15 

My Brother's Keeper. 5 male, 3 fe- 
male char 15 

The TAttle Uroivn J'%ty. 5 male, 3 
female char ,....15 

In Tivo A cts. 
Above the Clouds. 7 male, 3 female 

char 15 

One Hiindred Years Ago. 7 male, 

4 female char 15 

Among the Breakers. 6 male, 4 female 

char 15 

Bread ON THE Waters. 5 male, 3 female 

char 15 

Down by the Sea. 6 male, 3 female 

char. 15 

CE ON A Time. 4 male, 2 female char. 15 

e Last Jjoaf. 5 male, 3 female char. 15 

In One A ct. 
TAND BY THE Flag. s male char. . . 15 
The Tempter. 3 male, i female char. 15 

COMEDIES AND FARCES. 

A Mysterious Disappearance. 4 

male, 3 female char 15 

Paddle Tour Own Canoe. 7 male 

3 female char. . , 15 

A Drop too Much. 4 male, i female 

char. . 15 

A Little More Cider. 5 male, 3 fe- 
male char 15 

A Thorn Among the Roses. 2 male, 6 

female char 15 

Nevbr Say Die. 3 male, 3 female char. 15 
!5eeing the Elephant. 6 male, 3 female 

char 15 

The Boston Dip. 4 male, 3 female char. 15 
The Duchess of Dublin. 6 male, 4 fe- 
male char '5 

Thirty Minutes for Refreshments. 

4 male, 3 female char 15 

We're all Teetotalers. 4 male, 2 fe- 
male char ,....15 

Male Characters Only. 

A Close Shave, ft char 15 

A Public Benefactor. 6 char. ... 15 

A Sba OF Troubles. 8 char 15 



COMEDIES, etc., continued. 

Male Characters Only, 

A Tender Attachment. 7 char. . . 15 

Coals of Fire. 6 char. ...... 15 

Freedom OF the Press. 8 char. ... 15 

Shall Oar Mothers Vote? 11 char. 15 

Gentlemen OF the Jury. 12 char. . . 15 

Humors OF THE Strike. 8 char. ... I? 

My Uncle the Captain. 6 char. . . . 15 

New Brooms Sweep Clean. 6 char. . 15 

The Great Elixir. 9 char 15 

The Hypochondriac. 3 char 15 

Tlie Man with the Demijohn. 4 

char 15 

The Runaways. 4 char 15 

The Thief OF Time. 6 char 15 

Wanted, a Male Cook. 4 char. ... 15 

Female Characters Only. 

A LovH OF a Bonnet. 5 char 15 

A Precious Pickle. 6 char 15 

No Cure No Pay. 7 char 15 

The Champion OF Her Sex. 8 char. . 15 

The Greatest Plague in Life. 8 char. 15 

The Grbcian Bend. 7 char 15 

The Red Chignon. 6 char. 15 

Using the Weed. 7 char 15 

ALLEGORIES. 

A rranged/or Mttsic and Tableaux. 

Lighthart's Pilgrimage, 8 female 

char 15 

The Revolt of the Bees. 9 female 

char. 15 

The Sculptor's Triumph, i male. 4 fe- 
male char. . . J 15 

The Tournament of Idylcourt. 10 fe- 
male char 15 

The War OF THE Roses. 8 female char. 15 

The Voyage of Life. 8 female char. . 15 

MUSICAL AND DRAMATIC. 

An Original Idea, i male, i female 15 

Bonbons; or, the Paint King. 6 male, 

I female char 25 

Capuletta; or, Romeo and Juliet 15 

Restored. 3 male, 1 female char. . 15 

Santa Claus' Frolics 15 

Snow-bound; or, Alonzo the Brave, 
and the Fair Imogene. 3 male, i 

female char • 'S 

The Merry Christmas of the Old 

Woman who Lived in a Shoe. ... 15 

The Pedler of Very Nice. 7 male 

char 15 

The Seven Ages. A Tableau Entertain- 
ment. Numerous male and female char. 15 

Too Late for the Train. 2 male char. 15 

The Visions of Freedom, h female 

char. 15 



WALTER H. BAKER & CO., 23 Winter <?+ . Boston. 



THE 

CORNER LOT CHORUS 

^ JTarrc in ©nc ^ct 

FOR FEMALE CHARACTERS ONLY 

BY y^ 

GRACE LIVINGSTON FURNISS 

AS ORIGINALLY PEKFORMED BY "THE TWELFTH. NIGHT CLUB " AT THE LYCEUM 

THEATRE, NEW YORK, ON MAY 7TH, 1S9I, UNDER THE STAGE 

DIRECTION OF WALTER C. BELLOWS 






BOSTON 



^^^_^__.. I I nil Ml 

1891 



CHARACTERS. 

(as originally cast.) 

RHINE PEBBLE FACTION. 

Mrs. Biddulph ^ iGGins, of a literal turn of mmd . . . Madge Baron. 
Lavender Finetwill, who will have a dance .... Sally Williams. 
Penelope Sati'H'ba.cy., who do}i''t believe itt rehearsiiig . . Maude Banks. 

Challie Tofkvhg, with a giggle — unlimited May Robson. 

Spriggie Van Der Hunk, who caji manage the stage better 

than the cast Selina Fetter. 



CORNER LOT CHORUS. 
Chickie liii.v.s, who is " all there" — forewoman . . . 



Effie Shannon. 



Jury girls, always too mtich 
" there." . . . 



Clementina Chiffon, 

Birdie Lichtenwater, 

Dot Polka, 

Persis Pert, 

Carolina Rice, 

Dolly Delane, 

LoLLiE Foote, 

Bessie Bangle, 

Venie Vasaline, 

Goodie Sapp, 

Pussy Willow Marion Russell. 

Time, very much the present ; costumes, modern. 



By other members 
of the Twelfth 
Night Club. 




Copyright, 1S91, by Walter H. Baker & Co, 



All Rights Reserved. 



THE CORNER LOT CHORUS. 



Scene : — Large room hung %vith red, doors in flat R. c. and l. c. 
ivith portieres. Raised seat for Judge down c. Table K. with 
ehairs R. and l. Mirror R. Prompt-book^ towel, make-up 
box on table. Spriggie enters, R. c. carrying chair j bangs 
it down R. of table. 

Spriggie. There! How mean they are! {Exit: re-enters 
with another chair ; same business L. of table.') There ! Oh ! I 
am so tired! {Exit : re-enters carrying pile of boxes j drops them 
o/i table.) There ! the last of the properties and me ! {Coines 
down, reads.) "Table C., chairs R. and l. of mirror." Everything 
ready for the first act but the girls. I wonder if they remember 
that this is our last rehearsal, and to-morrow night brings a cold 
and critical audience to revel in their mistakes ! And if anything 
goes wrong it will be my fault. Of course, I am stage manager. 
{Goes to mirror, poivders hair.) Why don't they come? {Looks 
at watch.) Three o'clock ! I have been working alone here for 
hours. {Pins curls l. of face.) Never again will I manage the- 
atricals for a church benefit. Every rehearsal undermines my 
morals. 'Gracious! that cap is not ready. {Sits K., sewijig franti- 
cally. Challie enters, giggling, carries a box, comes down to 
Spriggie.) 

Challie. Am I late, Spriggie ? 

Sprig. Two hours. 

Chal. {giggling). So sorry! but a thousand things detained 
me. {Giggles.) O Spriggie, you look so funny ! Are you only 
going to wear one bunch of curls ? 

Sprig. Perhaps. Kindly attend to your own get-up. {Se^vs 
hurriedly.) 

Chal. I did. {Taking off ""^rap.) That's what detained me. 
Don't I look nice ? {Turns head over shoulder to admire back of 
gQwn.) 

Sprig. Well enough. Do you know your lines yet .'' 

Chal. (giggling). Well enough ; at least, I am shaky on the last 
act. {.Skips about.) I am to have three bouquets to-morrow. I've 
been practising for them : I am going to receive tliem so. {Takes 
imaginary bouquet, looks S2irprised, pleased, overcome ; bows with 
hand on heart. Giggles.) 

3 



4 THE CORNER LOT CHORUS. 

Sprig. Do stop giggling, and study your part ! 

Chal. {i^oing to iabli\ opens box). Oh, it will be all right! If 
I slip up 1 can put in some local "gags : " they always take. 

Sprig. As stage manager I forbid "gagging." 

Chal. P'orbid ! (Lavender enters with box; runs to 
Challie.) * 

Sprig. Yes ; forbid ! 

Lavender {kissing Challie). So sorry to be late, Spriggie 
dear! 

Sprig. Pray don't apologize ! 

Lav. Oh, if you want to be a martyr, don't let me prevent you ! 
{To Challie.) I've got the best joke! {They retire to table gig- 
gling., arms aboiit each other's waists.) 

Sprig. Do stop giggling. 

Chal. {over her shoulder). Sha'n't ! 

Lav, {over her shoulder). Can't ! {Busy themselves with 
boxes. Penelope enters, u. c. 7vith box.) 

Lav. and Chal. {together). Come over here, Penelope. 

Penelope. In a moment. {Goes to Spriggie.) My dear 
Spriggie ! so sorry to be late, but a — 

Sprig. A thousand things detained you, of course ! {Kises, 
goes to mirror, tries on cap.) 

Pen. Well, they did. 

Sprig. You need not have been afraid, however. I have set 
the stage, collected the properties, finished everything except my 
costume, and that is of no consequence. 

Pen. Well, I'm sure you've done splendidly. It looks lovely. 
{Crosses stage in long strides.) I feel just like a real actress. 

Sprig. Then I suppose you know your lines ? 

Pen. {striking pose). All but the last act. I shall be all right 
to-morrow night. I need an audience to inspire me. 

Sprig. Exactly. Nothing short of a monkey-wrench could ex- 
tract lines from any of you, while a jack-screw is needed to move 
you about ; and you all depend on the inspiration of stage fright. 

Pen. I never have stage fright. 

Sprig. Indeed! 

Pen. No ; and I know my part well enough. This is our 
fifth rehearsal, and I think it is one too many. {Walks 7ip stage.) 

Sprig. Professionals have fifteen. 

Pen. Then they must be very dull. {Goes to Challie.) Are 
you ready to make me up ? 

Chal. Yes, darling! 

Pen. {sits L. of table. Challie and Lavender pin towel 
about her neck). Put on plenty of wrinkles, darling. 

Chal. Yes, dear ! Hold the box, Lavender. 

Sprig, {carries chair across to l. front; sits setving). Have 
any of you girls seen Maudie .'' 
, All. No ! {Giggle.) 

Sprig. Do you think she is coming ? 



THE CORNER LOT CHORUS. 5 

All. Don't know ! (Gij^^/e.) 

Sprig, {aside). Mean things ! (Lavender ««^Challie stand 
in front of Penelope so as to hide her from audience. Challie 
makes her up. Enter Mrs. Wiggins, r. c.j 

All. Good-afternoon, Mrs. Wiggins. 

Mrs. Wiggins. Good-afternoon. Am I late ? 

Sprig. Only two hours. Have you seen Maudie ? 

Mrs. W. No. How nice everything looks ! Oh, before we 
commence I have several questions to ask. {Takes book from 
pocket.) 

Sprig. Yes ? Well ? 

Mrs. W. {going to her shows book). It says here, "Judge 
enters L. ; " L. means left, I belieye. 

Sprig. Yes, Mrs. Wiggins ; but as our stage only has one 
entrance — R. centre — you must come in there. 

Mrs. W. The book says L. How can I enter l. ? 

Sprig. You can't. 

Mrs. W. But it says — 

Sprig. Good gracious ! How can you come in through a solid 
wall .? 

Lav. Don't irritate our stage manager, Mrs. Wiggins. 

Mrs. W. Why should she be irritated.-^ 

Sprig. I am not. {Kips cap violently.) 

Mrs. W. Then I am to enter r. centre 1 

Sprig. Yes, Mrs. Wiggins. 

Mrs. W. {marking book). Thanks. Now, another point : 
over here it says, " Judge retires up." Now, Spriggie, up what .'' 
{Girls all giggle.) 

Sprig. Up means back ? 

Mrs. W. Back, back ! Up whose back ? 

Sprig. No one's back. Oh ! {fu/nps up.) 

Mrs. W. Did you hurt yourself.^ 

Sprig. No. When you " retire up," Mrs. Wiggins, you simply 
walk back to make room for the chorus. 

Mrs. W. Then why don't they use English and say so ? 
{A f arks book.) Speaking of the chorus — of course I don't wish 
to criticise — 

Sprig. Then don't do it. 

Mrs. W. No, no, I won't. But, really, I wish you had not 
selected girls who are, socially speaking, impossible. 

Sprig. We are not "speaking socially," but working for the 
church. 

Mrs. W. Still, the line should be drawn at tradesmen's daugh- 
ters, even in the church. 

Chal. {coming down). Exactly my sentiments. 

Pen. and Lav. Just what we said. 

Mrs. W. Of course. 

Pen. I have always said — {Her face is heavily lined with 
brown wrinkles. Spriggie looks at her, bursts out laughing.) 
What is it ? {Rushes to mirror.) 



6 THE CORNER LOT CHORUS. 

Sprig. The lady or the tiger ! {Laughs.) 

Chal. Isn't it good ? 

Pen. Horrible ! Awful ! I won't wear these wrinkles. 

Chal. It will look all right from the front. 

Pen. I don't care. It's hideous. 

Chal. I did exactly as the book directed. You said you 
wanted to look old. 

Pen. But I am not going to play an old zebra. I'll wash it off. 
{Starts to doof.) 

Sprig. One moment. Before the chorus arrives I have a word 
to say. 

Lav. Another lecture. 

Sprig. Well, you need it. Sit down and listen. 

Mrs. W. Sit on what ? 

Chal. The floor. {Siis on Jloor ; other girls follow suit in 
line from c. to Spriggie.) 

All. Now, Spriggie. {Laugh.) 

Sprig. I don't care. For the fiftieth time I will explain why I 
selected the play of " Oskaloosa Justice." First, because the 
scene being laid in Oskaloosa where the town officials are all 
women, it was easy to cast ; and secondly, because the chorus of 
jury girls would take in these twelve girls to whom you object. 

Lav. Of course we do. 

Sprig. And we must have them. Every girl has a mother who 
owns a corner lot. We want a corner lot for our new church. 
Very good. We invite the daughters to act with us, flatter the 
mothers, and have twelve chances for a corner lot. 

Chal. And may draw a blank after all. {Giggles.) 

Sprig. Nonsense ! These women are dying to get into the 
" smart set." 

Lav. Through the church door.'' 

Mrs. W. Well ; I say, cut out the chorus. Society and the 
church must be run separately. One says things in church which 
are, socially speaking, impossible. 

Sprig, '{rising). O girls! Mrs. Wiggins! It is only two 
nights more. Won't you be civil to the chorus ? 

Chal. {rising). Indeed I will not. I never dreamed they ex- 
pected social recognition. {Goes to door.) 

Sprig. Think of the corner lot. 

Pen. {rising). Chickie Niles is atrociously bad form. {Goes 
to door.) 

Sprig. Her mother's corner lot is in good shape. {Goes to door.) 

Lav. {rising). On no account will 1 be civil. 

Sprig. But we want a corner lot. 

Mrs. W. {risiiig). Then buy one and cut out the chorus. 
{Goes to door.) 

Sprig. O girls ! 

Pen. As stage manager, you can gush for the crowd. I'm go- 
ing to wash off Challie's frescos. 



THE CORNER LOT CHORUS. 7 

Sprig. Then you will not be civil ? 

Ai.1.. {ai doof). Certainly not. {Exit giggling.') 

Sprig, (walking about). One would think it was my private 

church. I've a great mind to resign — no ; I will not. I won't be 

driven out of the field. (Singing heafd outside.) Oh, dear! 

There come those odious girls, and I have to be civil. Ugh ! 

(Carries chair to R. front, statids.) 

(Mjisic. Jury-girls headed by Chickie Niles, enter R. c, file 
across to L. front, keeping time to music, form in double line 
across front, singing, lliey wear ivhite wool gowns, half long 
skirts, high bodices braided in gold, angel sleeves lifted with 
scarlet, shoes, stockings, and Portia caps. Each carries a note- 
book and pencil.) 

SONG. 

Oh, no, we never mention it, 

We never tell a thing, 
We wink our eyes and think a bit, 

And nod our heads and sing, — 
We are the pretty jury-girls. 

Who ne'er our trust abuse, 
And when the case is going on, 

We never read the news. 

(They dance to l., then to K.,form in line from behind Chickie 
from c. to I., front.) 

Chickie. (c). We've got that down cold, haven't we .'' 

Sprig. Very nice, very smooth ; but I asked you not to come 
until the second act was on, Chickie. 

Chick, (fanning herself). I know it, Spriggie. 

Sprig. None but intimate friends call me Spriggie. 

Chick. Same here. (Winks over her sliouhler to jury.) 

Jury. A row ! (Clap their hands, stand listening ; facing 
audience, right hands behind ears.) 

Sprig. Really! Well, Miss Niles, I am stage manager — 

Chick, {interrupting). Exactly, but you are not my manager; 
get the idea ? 

Jury. Good! 

Sprig. You are impertinent. 

Chick. And you and your stuck-up friends make me tired. 
You've played top-lofty airs with variations on me ever since this 
thing began, and I've had a genteel sufficiency. 

Sprig. I do not understand you. 

Chick. If I'm a parvenu, you're another. 

Sprig. I ! 

Chick. You belong to a peasant aristocracy, founded by Irish 
or German peasants, with brains enough to pile up the millions 
you boast of, and you are as much like a genuine aristocrat as a 
Rhine-pebble is like a diamond. 

Jury. Good, 



8 THE CORNER LOT CHORUS. 

{End girl crosses de/iind Chickik to 's..^ followed by others, so that 

line fo7-ms from R. to c. ; hold left hands to ears, listen as 

before.') 

Sprig. Abominable. {Puts hands over cars, crosses to Y.. front 
as jury-girls change.) 

Chick. Mamma al\va3's calls your set the Rhine-pebble girls. 

Spri&. Where can you find anything more aristocratic than I, 
Miss Niles ? 

Chick. ^ In London, Miss Van der Hunk. Among my friends. 
I was presented at Court, shook hands with the Prince of Wales, 
and was the hit of the season. 

Sprig. Doubtless. I presume they admired your high-bred 
air, your repose, your wit — 

Chick. They did. When I put on a " Felix" gown and went to 
a " Drum," I collared every man there. When I said, "Just give 
me two fingers more of that slick Orange Pekoe tea," the young 
dukes fell all over themselves. 

Jury, {clapping). Hurray for Chickie ! 

Sprig. I will not listen. 

Chick. In short, as long as the love of money makes the world 
go round, I am as good as you, and don't you forget it. {Goes to 
R. front.) 

Sprig, {coming down c). Have you finished .'* 

Chick. Almost. I hate to be so candid, but I must. {Takes 
out note.) Here is mamma's opinion of matters. {Gives Spriggie 
note; goes back to Jury ; all whisper.) 

Sprig, {reading). "Dear Miss Van Der Hunk, — Chickie 
tells me she is only in one act of your show for the church, and I 
write to say it won't do. A girl with a million in her own right, 
who's been to Court, and shook hands with the Prince of Wales, is 
good enough to be in all the acts of any play ever given " — 

Jury. Of course. 

Sprig, {reading). "Anyhow, if you don't fix it so that my 
daughter is on the stage all the time, she will resign her part, and 
me and my family will leave the church. Yours truly, Mary Jane 
Niles." 

Sprig, {folding note). Absurd ! 

Chick. Mamma gets right to work, doesn't she .'' 

Sprig. Surely, she is not serious. You are forewoman of the 
Jury, so you cannot appear in the play until the trial takes place. 

Chick. Then I resign. 

Sprig. I am sorry, but your place can be filled. 

Chick. All the girls go with me. Pass along your notes, girls. 
{Music.) 

Sprig. Distraction ! {fury girls dance across stage to Sprig- 
gie ; each gives her a note as she passes, dances aroutid behind her 
back to Chickie ; laugh.) 

Sprig, {fears open ttvo or three notes, throws all on table). It 
is preposterous. It would spoil the effect of the court scene. 



THE CORNER LOT CHORUS. 9 

Chick. Then we are not in this. Eh, girls ? 

Jury. No ! {All skip to door.) 

Sprig. Stop! I consent. 

Chick. We can be on the stage all the time ? 

Sprig. Yes. It makes the play a hopeless mix, but that is of 
no consequence. 

Chick. I thought you'd tumble to the racket. 

Sprig. Will you oblige me by crossing to the left front ? The 
rehearsal will begin at once. 

Jury. Certainly. {Dance across to i.. front, hiimniin^, " Oh, no, 
we never tnention it.'''' Form in double litie. Rhine-pebble girls 
enter laughing, see Jury girls, avert their heads, come down to r. 
f7ont.) 

Pen. Those girls here ! {Whispers to others.) 

Sprig. Hush ! The rehearsal will begin at once. Take your 
places. Where is the prompt-book ? {Hunts on table.) 

Mrs. W. O Spriggie ! it is so late you will have to begin 
with the second act, where I come on. 

Sprig. But, Mrs. Wiggins, Maudie is not here. We can't do 
the trial scene without her. Besides, the other girls need to re- 
hearse the first act. 

Mrs. W. I cannot wait for Maudie. If you do not begin the 
second act, I go at once. 

Sprig. Dear, dear, dear ! Very good, have your own way. 
( Taking up book.) Take your places. 

Pussy Willow {cofning forward). Hold on. Miss Van Der 
Hunk. 

Sprig. Well 1 

Pus. Wil. We girls don't think it's fair for. Chickie to do all 
the talking : we can act quite as well as she can, and want as many 
lines. 

Sprig. Well, you can't have them, as Miss Niles is forewoman 
of the Jury : she naturally has more to say 

Pus. Wil. Then we resign. 

Jury. We do. 

Pus. Wil. We are not going to be plastered along the wall like 
so many — dumb bells. 

R. P. Girls. Absurd ! 

Sprig, {consulting book). Let me see what can be arranged. 
Well, suppose you repeat the last three words of all the fore- 
woman's lines. 

Pus. Wil. That would be better. Shall we accept, girls ? 

Jury. Yes. 

Pus. Wil. That will do. {Retires to Jury.) 

Sprig. Now, then, the rehearsal will commence. 

Lav. {advaitcing). Stop a bit. {Opens book) 

Sprig. More objections ? 

Lav. No, only an improvement. When it says over here — Act 
L p. 17, — "expert skips across the stage," J shall interpolate a 
dance. 



10 THE CORNER LOT CHORUS. 

Sprig. A dance ! Why, it is all out of keeping with the play. 

Lav. Dances always are. {Goes to table.) However, it does 
not matter. I really did not care to play such a small part. {Ptits 
Oft /lat.) If I could have filled it out with a dance, it would have 
been better. You can easily fill my place. 

Sprig. By to-morrow night ? Impossible! 

Lav. Some one can read it. 

Sprig. Very well, have a dance ; have ten dances. Any young 
lady wishing to introduce a specialty will kindly come forward now. 
{Girls all giggle^ 

Pen. I may have a song, but I do not care to rehearse it. 

Sprig. I am glad the author of " Oskaloosa Justice " is dead. 
However, the rehearsal will — 

Lav. Oh, no, it won't ! I am going to do my dance first. 
{Takes off hat?) 

Sprig, {sinking into chai?-). What a rehearsal ! 

Chal. {giggling). Go on, Lavender. {Music.') 

Lav. You needn't be so jealous. {Reti?es np, co?nes down 
dancing fancy dance, anxiously eying her feet, and counting out 
loud, fury girls are convulsed ivitli laugliter.) 

Chick. I say. Miss Van Der Hunk, is she going to scowl at 
her feet that way ? It's great ! Out of sight ! 

Sprig. Do not ask me. 

Lav. I didn't. I smiled all the time. 

R. P. Girls. No, you didn't, darling. 

Mrs. W. I thought something hurt you. 

Sprig, {rising). The rehearsal will — 

Lav. Stuff! I will do my dance again. 

Sprig, {looking at watch). Half-past four. {Sits again. 
Music) 

(Lavender retires up again, dances dow7i smiling; warn lights) 

Chick. Now, girls ! Take the conceit out of her. 
Jury. We will. 

{When Lavender looks at Jury they avert their heads, laugh be- 
hind her back ; R. P. Girls applaud when she looks, laugh behitid 
her back. Music stops.) 

Lav. There ! How was that ? 
R. P. Girls. Lovely. 
Chick. It's a Jim dandy. 
Lav. I did not address you, Miss Niles. 

Chick. Nor I, you. I said the dance was a Jim dandy. It is, 
but you can't dance it. 

Jury. She can't dance it. 

Lav. She shall apologize. 

R. P. Girls. She shall. 

Chick. Oh, come oflT I Who's going to make me ? 

Jury. Who's going to make her ? 



THE CORNER LOT CHORUS. I I 

Sprig. {Jio/ips on chair ^ xvaves Iter hands). Girls, are you not 
ashamed ? Silence, every one ! The rehearsal will commence at 
once, at once. I am going to turn on the rest of the lights and 
begin. {^Gets down, goes to door.') The turncock is down-stairs; 
I won't be an instant. {Exit; re-etiters inunediately reading 
letter) Oh, this is too much ! 

Chal. What is the matter now. Miss Stage Manager? 
{Giggles.) 

Sprig, {coming doTun). Listen. {Reads.) " My dear Miss 
Van der Hunk, I regret to inform you that I shall be unable to 
appear to-morrow night. As my part was so very small, of course 
you will have no difficulty in tilling my place. Believe me, cordially 
yours, Maudie Silveredge." 

Chal. That is just like Maudie. 

Lav. Mean thing! 

Pen. Then we will have to give up the play. 

Sprig. After selling eight hundred tickets ? Never ! 

Mrs. W. Can't you cut out her part .'' 

Sprig. No. 

Chick. Then there is no performance? {Lights ready.) 

Sprig. There will be a performance if I have to give it as a 
monologue. 

Chal. But who is to take Maudie's part ? 

Sprig. I have an idea. 

All. What ? 

Sprig. You'll see later. Now I am going to turn up the lights ; 
when they are high enough, stamp on the floor so I will know 
when to stop. {Goes to door.) 

Mrs. W. What part ot the floor shall we stamp on, Spriggie? 

Sprig. The part underneath you. So ! {Stamps. Aside.) 
I wish it was her head. {Exit. Girls stand with right foot raised 
looking at top lights, laughing.) 

Chal. {giggling). What fun rehearsals are ! {Lights down) 

All. So jolly ! {Lights gradually get lower.) 

Pen. She is turning the lights out. 

All. 'Oh ! Ah ! 

Chal. Quick! Stamp and stop her ! 

All. Qh ! {Stamp on floor j lights <^o out, statue almost 
dark.) 

All. Oh! Spriggie! Miss Van der Hunk ! Where am I ? 
Is that you? 

Chick. Come on, girls. I'm going to see what the trouble is. 
Where is the door ? {Exit, folloived by Jury.) 

Chal. I'll go turn up the lights. (Exit.) 

R. P. Girls. How stupid! Did you ever! What an idiot! 
{Lights up.) They're coming up. {Lights up again, Mrs. Wig- 
gins, Lavender, atid Penelope discovered in c. of stage, arms 
around each other.) 

Mrs. W. What a dreadful experience ! 



12 THE CORNER LOT CHORUS. 

Lav. and Pen. Awful ! 

Mrs. W. Where are those odious girls? 

Pen. I hope they've run home. (Challie I'tins in giggling^ 

All. Where's Spriggie ? 

Chal. {coming dowii). She is locked up in her dressing-room, 
and says we are to set the stage for the second act, and she'll be 
up directly. 

Lav. What is she doing ? 

Chal. Don't know. She shoved the prompt-book through a 
crack in the door, and said, go away. 

Pen. How insulting! 

Chal. Come, you are my supers ; get to work. (^Giggles.) 
Twelve chairs for the Jury. Step lively. 

(Mrs. Wiggins, Lavender, and Penelope exit, re-enter, each 
carrying two chairs.) 

Lav. Where do they go ? 

Chal. Slanting from door to front. {Business of arratiging 
chairs.) That's it. Six more, please. 

(Mrs. Wiggins, Penelope, ^w^ Lavender ^.r^?<;«/, re-enter with 
chairs, arrange them as before. Challie places chairs R. and 
L. of judge's seat, carries table back to L. rear. All come down 
to fro7it laughing^ 

Chal. Where ?> Spriggie ? 
Lav. I am wild with curiosity. 

Mrs. W. Hark ! {Runs to door, looks out, runs back to girls.) 
She's coming. 

{All cross to I., front, stand facing door. Music as Spriggie runs 
in, comes down C, drops courtesy _; all l^ugh. Left side of 
Spriggie's gown white Greek drapery, hair in Clytie knot. 
Right side gown severe black, big sleeve, bunch of curls shad- 
ing face. One slipper white, one black.) 

Sprig. Well, how do you like it ? 

Pen. What is it? 

Lav. Before, and after taking — 

Chal. {giggling)- What does it mean ? 

Sprig. I have simply doubled up with Maudie's part. {Turns 
\.. profile to audience.) On this side I am the district attorney for 
Oskaloosa. {Waves arm.) Your Honor, I appeal to you. {Turns 
right profile.) On the other side I am Clytie Brown, the defend- 
ant. {Turning rapidly.) Plaintiff, defendant, plaintiff, defendant. 
See ? 

Mrs. W. You look very funny. 

Chal. Awfully. {Giggles.) 

Lav. Rather far-fetched. 

Pen. The audience won't understand. 



THE CORNER LOT CHORUS. I 3 

Sprig. Yes, they will ; they've got to. I can't replace Maudie ; 
and after selling eight hundred tickets we must give a performance. 

Mrs. W. {looking at watch). It is five o'cbck, Spriggie. 

Sprig. Couldn't you possibly manage to go over the tirst act 'i 

All. No ! 

Sprig. Very well, clear the stage, Mrs. Wiggins : you open. 
Come, girls ! {Runs off with Lavender and Penelope. Mrs. 
Wiggins sits on Judge's seat, opens book.') 

Mrs. W. What do I say? Oh, yes. Send the jury into court. 

(^Music. /toy girls dance on as before; sing, " Oh, no, we never 
7Jiention it,''' etc. At finish cross to i^. front, file from there to 
chairs L., bowing to Judge as they pass ; sit, take up note-books. 
Spriggie enters, zvrappcd in cloak j goes to L. of Judge, drops 
cloak. Jury bursts out laughing.) 

Chick. That's the worst I ever saw. {Rises.) 

Spkig. Please don't interrupt, Miss Niles. 

Chick. Keep cool ! I just want to say, that if this rehearsal 
isn't over by six o'clock prompt, you'll be sorry. 

Sprig. I am stage manager, and shall rehearse as long as I see 
fit. 

Chick. Don't say I didn't warn you. (Sits.) 

Jury. Didn't warn you ! (Sit.) 

Mrs. W. What is the first case before the court ? 

Sprig. Suit brought by city against Clytie Brown, sculptor, for 
non-fulfilment of contract. 

Mrs. W. Clytie Brown is wanted in court. 

Sprig, (running around behind Judge, appears R. as defendant). 
Your Honor, as a free born American I demand justice. 

Mrs. W. Justice you shall have. In Oskr.l. a the senseless 
technicalties and forms of the law are abolished by the rule of 
woman. In Oskaloosa justice is free. Unhampered by counsel, 
state your case, produce your witnesses, and abide by the verdict 
of your fellow-women. 

Jury (rising, sing). 

Guilty, your Honor, guilty 

We tind the plaintiff to be'; 
If any one's wrong in the case, 

We rather think it's she. 

Sprig, (over her shoulder). Sit down ! The idea of giving the 
verdict before the trial ! 

Chick. She said, — verdict. 

Sprig. No matter ! Sit down ! 

Chick. Snubbed. (Sits.) 

Jury. Snubbed ! (Sit.) 

Mrs. W. Proceed with the case. 

Sprig. Your honor, I am Clytie Brown, a sculptor. The city 
ordered a statue of Justice for the new city hall from me. When 
it was complete they refused it on the ground that it was out of 
proportion. 



14 THE CORNER LOT CHORUS. 

Mrs. W. Did they prove this ? 

Sprig. No. The expert who judged my work is a rival sculptor. 
By your leave, I will presently produce her in court, and expose 
her ignorance. 

Mrs. W. I don't doubt it. I shall probably decide in your 
favor, but first I must hear from the district attorney. There are 
two sides to everything. 

Sprig, {j-jins around behind Judge, appears l. as plaintiff). 
Your Honor, there are. 

Chick. Now you see it, and now you don't. 

Sprig. Don't interrupt. 

Chick. Crushed. 

Jury. Crushed. 

Sprig, (plaintiff). Your Honor, I will now call a witness in 
behalf of Oskaloosa. 

Mrs. W. Bring it into court. 

Sprig. Reporter of tlie Oskaloosa Garblcr wanted in court. 
(Challie enters giggling ; wears tilster and hat, carries note- 
book.) Bow to the Judge ; take your place there. {Points R. of 
Jndgei) 

Chal. What fun ! (Boivs, stands r. of Judge.) 

Sprig, {plaintiff, severely). You represent the Oskaloosa 
Garbler ? 

Chal. Yes. 

Sprig, {plaintiff). You recently interviewed Clytie Brown, the 
sculptor ? 

Chal. I did. 

Sprig, {plaintiff). What is her age? 

Chal. {consulting book). Eighteen summers and seventeen 
winters. 

Sprig. Your Honor, having seen the defendant, can readily de- 
tect the falsity of that statement. 

Mrs. W. Of course. 

Sprig, {running around to r., appears as defendant). Your 
Honor, that is my newspaper age. 

Mrs. W. Of course. 

Sprig, {returning to L. as plaintiff). Ladies of the Jury, 
make a note of that : you observe she has two ages. 

Jury {rising, write). Her newspaper age is eighteen summers 
and seventeen winters. {Sit.) 

Chick. It is half-past five, Miss Van Der Hunk. 

Sprig. Don't interrupt the rehearsal. 

Chick. Floored again. 

Jury. Floored again. 

Sprig, {plaintiff to Challie). Had you any previous ac- 
quaintance with the defendant ? 

Chal. Oh, dear, yes. I went to school with her. She wasn't 
a bit pretty or smart, so 1 was amazed to hear that she had be- 
come a sculptor. Queer, how things turn out! I used to be rich, 



« THE CORNER LOT CHORUS. 1 5 

and now I am a reporter ; and a good one, too. I can hash a rep- 
utation with any girl alive ; spice a scandal, pepper a para- 
graph — 

Mrs. W. Keep to the point, witness. 

Sprig. We want to hear about Clytie Brown. 

CiiAL. Oh, I never thought much of Clytie. You know how it 
is, when you know people it seems as though they couldn't amount 
to much. {Giggles.) 

Chick. Get on to that rippling giggle. 

Jury. That rippling giggle. 

Sprig. Be quiet. 

Chick. Another snub. 

Jury. Snubbed again. 

Sprig, {plaintiff, to Challie). You say the defendant is a 
dreadful liar. 

Chal. I — 

Sprig, {plaintiff). Ladies of the Jury, make a note of that. 

Jury, {rising). The defendant is a dreadful liar. 

Sprig, {plaintiff). These details affect your verdict. 

Jury, {rising, sing). 

Guilty, your Honor, guilty, 
■ We find the plaintiff to be — 

Sprig. Sit down. 

Chick. You said verdict. (Jury sit.) 

Sprig, {plaint ff). You have seen this statue ? 

Chal. Yes ; it looked like the dickens. 

Sprig, {plaintiff' to Jury). Ladies of the Jury, make a note. 

Jury {rising, write). The statue looked exactly like Charles 
Dickens. {Sit.) 

Sprig, (running to R. as (defendant). Your Honor, the witness 
did not say my statue looked like Charles Dickens. 

Mrs. W. I never heard of any other. 

Sprig, (defendant). But, your Honor, — 

Mrs. W. I'll fine 3-ou for contempt of court, if you are not 
silent. 

Sprig, {returns to l. plaintiff'). Your Honor, I rest my case 
here. The defendant has been proved incompetent, and a liar. 
Witness, step down. 

Chal. (giggling)- I will write up my notes. (Sits 'L. front.) 

Mrs. W. Now, I will hear from the other side. 

Sprig, (running to r., appears as defendant). Your Honor, disre- 
garding the disreputable slanders of my opponent, I will produce 
their expert in court, and let her prove my case. 

Mrs. W. The expert is wanted in court. 

(Lave.xder enters, dressed in extreme of prevailing style j car- 
ries lorgnette J looks about superciliously.) 

Sprig, {defendant). Sit there, please. {Points to chair i.. of 
fui^e.) 



l6 THE CORNER LOT CHORUS. 

Lav. {eyvif^ Challie). What is that young woman doing? 

Chal. Writing up the trial. 

Lav. {nts/ii/ig to her). Then I want to tell you all about my 
gown, and my divorce, and — 

Mrs. W. Proceed with the case. 

Sprig, {defendant). Witness, come back here. 

Lav. But I want — 

Chal. Don't you worry. I'll give you half a column. 

Lav. {goes to chair'). Now, I am ready. 

Sprig, {defendant). Are you prepared to swear that you: 
judgment is infallible ? 

Lav. I am. 

Sprig, {defendant). Ladies of the Jury, make a note ; this will 
influence your verdict. 

Jury {rising, ^i'^g)- 

Guilty, your Honor, guilty, 

Mrs. W. Sit down ! 

Jury. We find the plaintiff — 

Sprig. Will you sit down ? 

Chick. Watch me fall dead. {Sits.) 

Jury. Fall dead. {Sit.) 

Sprig, {defendant). ^ You are an expert on statuary, I believe. 

Lav. Yes, and a sculptor. 

Sprig. {defe)idant). You pronounced my statue a bungling 
piece of work. Anatomically incorrect. 

Lav. It was. Laughably so. 

Sprig, {defendant). You are sure your decision was not biassed 
by jealousy. 

Lav. Jealous of you ! Nonsense. Your work was an offence 
to my artistic eye. 

Sprig, {defendant). Your Honor, with your permission, I will 
test the judgment of this complacent lady. {Goes to L. c. en- 
trance.) I have here a model in clay of my statue of Justice. {To 
Lavender.) Will you now kindly point out to the Judge and Jury 
each and all of the anatomical defects in my work. 

Lav. I shall be happy to do so. {Goes to l. front, stands 
looking at cnrtaiii.) 

Mrs. W. Draw the curtain. 

(Spriggie draws cnrtain hack, disclosing Penelope made tip as 
statue, with Greek drape7'ies, seated; head resting on ha)idj 
bandage over eyes.) 

Lav. Preposterous ! 

Sprig, {defendant). Your Honor. I rest my case here. 
(IVaru clock.) 
Mrs. W. We will now hear the other side. 
Sprig, {crosses to L. of statue as plaintiff). Your Honor, I 



THE CORNER LOT CHORUS. I7 

accept tlie test for our expert. Can any woman alive look at this 
pitiful attempt without laughter? 

Mrs. W. Certainly not. Ladies of the Jury, laugh. 

Chick. Funny. {Langhs.') 

Jury. Funny. {Laug/is.) 

Lav. The extent of its absurdity is only apparent to an artist's 
eye. 

Sprig, {plaintiff). Kindly point out the details to the Jury. 

Lav. First, the pose. Human muscles could not be twisted 
into that strained and artificial pose. 

(Challie begins to assiune saf/ie posei) 

Sprig, (plaintiff). True! 

Lav. The face is lop-sided, the ears too far forward, and the 
nose on one side. 

Chal. Fve got it ! {Giggles.) 

Lav. What ? 

Chal. The strained and artificial pose. 

Lav. Nonsense ! Not a IMt like it ! 

Mrs. W. You will be fined for contempt of court directly, 
reporter. 

Sprig, {plaintiff). True ! Unfortunately tKue ! 

Lav. Next, the arms : one is longer than the other, and both 
are out of drawing; and, worse than all, — the — er — limbs exist 
only by courtesy. Beneath that stiff drapery there can only be a 
shapeless lump of clay, incapable of form or motion. 

Sprig, {running round to R. as defendant). You are sure .-' 

Lav. Qi-i'te. Animate that wretched attempt at a model with 
life, and it would fall flat. 

Pen. {tearing off bandage). What.'' 

All. It is alive. 

Pen. {rising). My arms are out of drawing, are they ? {Strides 
to Lavender.) I am incapable of form or motion, am I ? 

Lav. Oh ! {Runs across to Jury, followed by Penelope. 
They dodge about, Penelope catches Lavender, brings her to 
fudge by her ear.) 

Sprig, {goes behind fudge, comes out R. as defendant). Your 
Honor, I rest my case here. It was the testimony of this expert 
tliat condemned my statu^ and you see what her judgment is 
■" , 1. 

J Av. Your Honor, this young woman is out of drawing. 

Pen. What ? {Clock ready, l.) 

Lav. You were born so. 

Pen. What ? {Strides to her.) 

Lav. Oh, I take it all back. You are adorably lovely. 

Pen. {folding arms). Well, I should say so. 

Mrs. W. Ladies of the Jury, consider your verdict. 

Jury {rising, sing). 

Guilty, your Honor, guilty 

We find the plaintiff to be ; 
If any — 



I 8 THE CORNER LOT CHORUS. 

{Clock strikes si.t loudly.') 

Chick. Six o'clock, girls. 

Sprig. Go on with the rehearsal. 

Chick. Not much ! You see, mamma said I should resign my 
part if I was kept here after six o'clock : so I am going. 

Jury. Same here ! 

Sprig. I will not permit you to leave. {Crosses to L. froftt, 
folloived by R. F. £;irls.) You must finish the rehearsal. 

Chick. Not much ! 

R. P. Girls. Oh, Hsten ! 

Chick. In fact, me and my friends will resign our parts. 

Sprig. Resign! {^Begiri second ending here. Seep. 19.) 

Jury. We've all played Juliet. 

Chick. And we all act better than you ; you're " not in it." 

Sprig. Indeed ! Perhaps you would like to change parts. 

Chick. Good idea! If you'll change, I won't resign. Now 
that goes, see ? 

Sprig. No, I don't see. 

Chick. Come on, girls ! {Starts for door.) 

Sprig. Oh, wait, wait ! I've sold eight hundred tickets. I 
must give in. Here, take the part. {Holds out part.) 

R. P. Girls. Oh, oh ! 

Pen. That's rather good! Slight your own friends for that 
girl ! If you are going to give the part up, I'll take it. 

Chal. Nonsense! It's not your style : I'll take it. 

Lav. You are too large. It should be played by a dainty little 
girl, like me. 

Mrs. W. On the contrary, it requires a dignified presence, — 
like mine. 

Jury. I want it. 

Sprig. Then I refuse to give it up. 

All. Selfish! 

Chick. It might mean a corner lot, if I had it. 

Sprig. I will not give it up : I refuse. 

All. Then we resign ! Selfish ! 

Jury. We resign ! We won't stay! {Skip out.) 

R. P. Girls. And we resign. {Exit, talki/nr, and ^larincr at 
Spriggie.) ^ 

Sprig, {looking after them). Well,Xhickie said the cast was 
"out of sight," and it is. I don't care. {Coming down front.) 
Ladies and gentlemen, " Oskaloosa Justice" will be given to- 
morrow night, as advertised. But, owing to — er — er — circum- 
stances, I will present it to you as a monologue, claiming the usual 
indulgence for a quick study. 

Curtain. 

Note. —The version thus concluded is that finally adopted in the performance by the 
Twelfth Night Club. The original ending, and the one preferred by the author, is also 
given for the benefit of those who may agree with her taste in the matter, The change 
begins after the speech, " Spriggie. Resign ! " 



THE CORNER LOT CHORUS. ' I9 

Chick. First, because you are rude ; secondly, because we 
don't care to play such small parts. I've played Juliet and Portia, 
so I feel rather wasted in this role. 

Jury. So do we. 

Sprig. But we've sold eight hundred tickets. 

Chick. You're in luck. 

Sprig. Even a stage manager will turn, and I'm going to give 
you a piece of my mind. 

Chick. Don't lose your temper. 

Sprig. You're an ill-bred — 

Chick. Tra-la-la ! 

Jury. Tra-la-la! 

Sprig. You're a flaunting parvenu. 

R. P. Girls. You are. 

Sprig. Your mother sold butter to my mother. 

Chick. And never got a cent for it. Don't you call names. 

Sprig. No names could do you justice. I'd like to slap you. 

Chick, (^dancing about). Try it! 

Sprig. I will. {Rushes at Chickie. Penelope catches her 
about waist. R. P. Girls fortn tug-of-war line, hold Spriggie 
back. Jury girls iti tug-of-war line restrain Chickie.) I'll box 
her ears ! {Jumps at Chickie. R. P. Girls hold her back.) 

R. P. Girls. Calm down, darling. 

Chick. Let me go ! {Ju/nps at Spriggie.) 

Jury. No, no ! 

Sprig. Apologize ! 

Chick. Never ! 

All {together). Mean cat! Spiteful thing! Hateful! Rude! 
Horrid! So! 



Quick Curtain. 



MISS TIFFANY'S LATEST AND BEST. 



A n Autograph Letter. 

* * -t^ -^- -^^ *- -:(;- -:^ -:^ vC- * •^- * * ^5 -:t- ^- 

A Comedy-Drama in Three Acts. 

By ESTHER B. TIFFANY. 

Author of "A Rice Pudding," "Anita's Trial," "The Way to His 
Pocket," and other favorite pieces. 

Five male and five female characters. Scenes, two interiors; costumes, 

modern and simple. Sparkling in dialogue, strong in 

interest, graceful in idea. 

Pric«, 2r> cents. 

SYNOPSIS. 

ACT I. Staunton's lodgings. Port-wine and poverty. Love's young di .'am. A voice 
from the tomb. "Why do you haunt me?" A ruined hfe. The Autograph 
Letter. " I'll destroy it this very day." Troubles thicken. The grasp of poverty. 
An idea. " Give me one hour and you shall have your money." The key of the 
secretary. The seed of sorrow. 

ACT IL John Master's home. The temperance question. Two sides of an old maid. 
"Aunt Libby, you're a jewel." Reading tiie newspaper. "Black satin's in 
fashion." The bitter past. A story of a wasted life. The unanswered letter. Aa 
angel's visit. The letter answered after twenty years. The ring and its 
motto. " To love is to trust." The harvest of happiness. 

ACT in. At Staunton's ag.iin. Locking the stable door. White lies and wliile 
lilacs. A confession. " T/ie letter jiever readied John Master s hands." For 
love's sake. ^' He must Be told." A daughter's happiness. "She will marry the 
man she loves, but for you." A sacrifice and a promise. Face to face. " I came 
to fling his treachery in his face, but it is the face of a dead man." False to the 
last. " For her sake, not yours, I lied." A noble foe. Young love and old. Ex- 
plamed at last. " I am no man's wife." The Garnering of the Grain. 



THE WAY TO HIS POCKET. 

Price, 15 cents. 

A comedy in one act, for two male and three female characters. Scene, an interior, 
costumes modern. All its requirements are simple to the last degree, and offer no diffi- 
culties. This little play is in Miss Tiffany's best vein, and admirably continues the series 
of parlor pieces, refined in humor and clever in plan, of which she is the author. Plays 
about an hour. 



Out of his Sphere. 

A Comedy in Three Acts by the Author of the Poik 
ULAR Military Drama 

"FORCED TO THE WAR." 

Price, 15 cents. 

Tive male, three female characters. Scenery, two simple interiors. The 
leading character is an old farmer, whose wish for the comforts of 
city life and th.. luxuries of wealth is answered in an unexpected 
and embarrassing manner. The piece abounds in rustic humor, the 
contrast between the simple old countryman and his city surround- 
ings being ludicrously emphasized. All the characters are good and 
the piece easy to j^roduce. 

SYNOPSIS 

Act I. Kitchen in Jedediah's house. A stormy night. Family jar. Jede- 
diah's return. A much abused man. "Hain't I been wrecked with floods, an' 
blizzards, an' hurricanes, an' every other calamity under the sun?" Dissatisfied 
with his sphere in life. "I want ter be rich, that's what I want, an' with 
nuthin' ter du but jesi. sit around an' take lite easy." Mr. Markham seeks shel- 
ter from the storm. Jedediah, relates his troubles, after which he retires. 
Scheme between Mrs. Blood and Mr. Markham to cure Jedediah from grumbling. 
Vhe Dutchman let into the secret. " You vhas der doctor, und I \has der gen- ■ 
eral superintendent. Pizness is pizness." Jedediah placed under the influence 
of anesthetics and taken to the uiausiou of Mr. Markham. 

Act II. Eoom in Markham's mansion. Jedediah awakes from his stupor. 
A bewildered wan. " What — on — airth — Why ! where am I, anyhow ! " Fe- 
male servants not waute 1, Believes himself to be dreaming and endeavors to 
«wake. " I've hern tell if you could shout, or thrash yourself about, it would 
wake you from the toughest aightmare on record. So here goes." Interview 
between Jedediah and .John. " Wise man holds tongue. Old proverb. Better 
follow it." Fun by the bushel. More and more bewildered. ' Mrs. Blood as Mrs. 
Southernwood. An explanation wanted. "For Heaven's sake tell me where I am 
an' what's the matter." Old home the best. Asleep or crazy — which? "Oh, 
Lord, I'm in a lunatic asylum, an' these servants are my keepers." Jedediah 
retires. Once more returned to his old home. 

Act III. Same as Act I. Conundrums. " Why do some ladies who do up 
their hair imitate a rooster?" The Dutchman's conundrum. "Vy does der 
hen move his head back vuid forth vhen she vhalks?" Something about base- 
ball. Jedediah awakes. " I've had a dream." So have Thomas and the Dutch- 
man. Jedediah's story. A permanent cure. " No matter under what circum- 
stances I am placed , or how poor my condition may be, I will never again find 
(aidt with my sphere ^n life." 



THE BAT AND THE BALL. 

A Farce in one Act. 

Price -------15 cents. 

Pour male, three female characters. Scenery, costumes and properties 
simple. Time in playing about 40 minutes. Showing the difficul- 
ties that may arise from the practice of Amateur Photography. A 
roaring farce. 



A NEW PLAY OF COLLEGE LIFE. 



A FARCE IN ONE ACT. 

BY THE AUTHOR OF "CLASS DAY." 



Price . . 35 cents. 

Three male and two female characters. Scenery and costumes, very 
easy. Tom Burnham wears ladies' costume throughout the piece, and 
all the characters may be played by men, if desired, as in the original 
performance by Graduate Members of the Pi Eta Society, of Harvard 
College, at Beethoven Hall, Boston, February 29, 1S76. This play was 
one of the attractions of the Murdock Testimonial Benefit, at the Boston 
Theatre, January 19, 1S77, and has since been played many times from 
manuscript with great success. A very fuimy piece and a sure hit. 



A NEW DRILL. 



THE TENNIS DRILL 

By MARGARET FEZANDIE. 

Reprinted by permission, from Harper's Young People, with the 
oric;inal diagrams and illustrations. 



15 cents. 



This pretty and picturesque entertainment will be a novel and popular 
feature for a school exhibition, a parlor entertainment, or a lawn party. 
Sixteen girls, or less, can take part, regulation tennis suits in two colors, 
being worn, with fascinating "deerstalkers'' and "blazers" to match. It 
is very easy to get up, tennis apparatus being universally handy, and is 
highly recommended for its novelty, picturesqueness and equal adapta- 
bility for in-door or out-door use. 



<rH:E) HIT OK THE; SEASON. 



Oui OF iHE S hadow. 

A DRAMA IN THREE ACTS. 

By A. VATTER and J. E. SPENCER. 

Price, - - - - 25 cents. 

/ 

Six male and three female characters. Time, the present. Scene, ai 
New England factory village. First played at the Vereins-Halle of the 
Boylston Schulverein, Boston, May 27, 1889, under the title of 

"A NOBLE SACRIEICE." 

sirnsroipsis. 

ACT I. Morning. — Isabel's birthday. A husband's love and a husband's secret. 
'' Can such joy endure?" Tlie shadow of the past clouds the light of the present. 
Army and Navy. A lesson in love. " A flank movement and a ' naval engagement.' " 
The army routed. Waldemar's confession. " The tnaii. ymcivould call father is an 
outcasty The edge of the shadow. " I will stand by her side and defy the world." 
Questioning the fates. The foreign workman. The courage of innocence. " Here 
vasmyname; he will remember it." The Shadow Falls. 

ACT II. Afternoon. — Taking counsel. " Do your best, the happiness of us all de- 
pends upon yon." Proposing under difficulties. Edith'sdream. Father and daughter. 
" It is true, lie is faithful." The shadow comes again. The Rat King. Isabel's 
scorn. '■''Of whom are you speaking? Your husbmid !'' A little light in the darkness. 
" It is too late — too late." Isabel learns the truth. A convict's wife. " My idol has 
turned to clay." Isabel's flight. The Captain takes a tumble. Waldemar's return. 
The deserted home. ^' Alone ! Alone!" The blackness OF the Shadow. 

ACT III. Evening — " The cigarette of peace." A looker-on at love. " Great Jupiter! 
I can't stand it! " The terror of uncertainty. " He will surely come ; but when?" 
The meeting of old enemies. Brought to Bay. Accusation and -recrimination. 
" Cease your mockery, and tell me what you want." The price of silence. "Will 
money bring back the dead?" A living tomb. The taUsman of love. "Your child 
lives — but not for you." A father's grief. "Do not ruin her liappiness as you 
have mine." The Sacrifice. ^' My little one is dead — to me !'^ The shadow 
lifts. " He is gone, never to return. " Husband and wife. A confession. " Why 
have you not trusted me?" A bond of love. Out of the Shadow. 

F orty M inutes with a C rank, 

A FARGE IN ONE AGT. 

By GEORGE M. BAKER. 
Price, .-_.--. 15 cents. 

y Eight male, three female characters, including a German, Irishman 
and Darkey. Originally published under a title of " The Seldarte Craze." 
and containing an admirable satire of certain elocutionary methods 



By the Author of "Out of His Sphere." 



The GRKNGER, 

Or, Caught in His Own Trap. 

By DAVID HILL, 

Author of "FoKCED to the Wae," "Out of his Sphere," 
"Placer Gold," "Bound by an Oath," Etc. 

Eleven male and two female characters and supers; six male characters oniy 
being important. Costumes modern and eccentric rustic. Scenery may be made 
elaborate or simple, according to circumstances. John Haymaker is a good 
character, new to the stage, and full of rustic humor and shrewdness. Alvin 
.loslin, as played by Mr. J^avis, conies nearest to it in flavor. The other char- 
acters are excellent, generally rustic types and those of low life in the city. 
Avhere the incidents of " The Granger's" second act occur. The story is original 
in idea, and of great humorous possibilities. Just the thing for a Grange enter- 
tainment. Can be played with the simplest accessories, yet will amply repay 
care in geVting up. 

Price ... . . 25 Cents. 

ACT I. Scene 1. Highway. Farming a trade. "It takes more good, sound 
common sense to rnn a farm successfully than it does a national bank. A 
good shot. Evolution. Isaac as an informer. Hard to hear. "Measter 
Haymaker, dom it ! woolye stop that dinging and come here." Scene 2. 
The lovers. Philopened. The penalty two kisses. Caught in the act. 
" Well, young man, when you are satisfied, please give me your attention." 
Wager between Kichard and Haymaker. "1 will wager that you will be out- 
wiited at your own game inside of a month ; and your daughter's hand shall 
pay the penalty if I win." "And if you lose?" "If I lose, I will never 
trouble j'ou or your daughter again." The acceptance. Scene 3. Hay- 
maker's house. Kichard unfolds his plan to Mrs. Haymaker and Minnie. 
They join him in the plot to outwit Haymaker. 0£f to the city. 

ACT II. Scene 1. City street. " The Granger." Lots ot fun. Taken for a 
greenhorn. New kind of game. Baiting the trap. How the pickpockets 
were caught. " Feel at this moment jest like speakin' in meetin', don't ye ?" 
Held in tow. Off to the "tavern." Scene 2. City bar-room. How Hay- 
maker fooled the crowd. Keleasing the pickpockets. Parting advice. 
" When you pick up another Granger on the street, don't take him for a 
pumpkin until you have tested the rind." How the traps were worked. 
Tough yarns. Richard and Minnie disguised. The song. Charity. 
" Yengster, jest lead the way tu them there books." Scene 3. Koom in 
tenement house. Evolution again. The supper. The drugged coffee. 
Haymaker falls asleep. Kichard" happy. "Hurrah! we together have out- 
witted John Haymaker." Minnie's keepsake. Haymaker caught in his own 
traps. 

A.CT III. Scene 1. Highway. Haymaker and Cushing. " Tour're an old, 
m-iddlesome, wizzled, knock-kneed and dried iip jackass." Cushing aston- 
ished. " Wa'all, I swow ! I'll be blowed if I ever seed Haymaker like that 
afore." Scene 2. Haymaker's house. Waiting for Hayinaker. "O my! 
there is father coining now." Crest-fallen but spunky. Haymaker's explan- 
ation. His admiration for those who outwitted him. "If they would 
confess I would give them a thousand dollars and a position for life." Taken 
at his word. Richard and Minnie again in disguise. The song. Haymaker 
imbfounded. " Well, it's beginnng to dawn upon me that I'm a confounded 
fool." Fulfilling the contract. Haymaker's closing words. "Though 
' advocate the theory of evolution, it never again shall be the principal 
latch John Haymaker in his own trap." 



\ Baker & Co., 23 Winter St., Boston. 



•ARKHILL 4 CO., fKINTERS, 222 FRANKLIN ST., BOSTON. 

V 




The n HRnNnTHflNATQlETRO N; 

OR, OLD TIMES MADE NEW. 

An entertainment in one act for sixteen girls, written for the Class Pay 
Exercises at Dana Hall School, Wellesley, Mass., by two members 
of the Class of '87 and first performed before members of the school 
and their friends, June 18, 1887, and later at Ellsworth, Mame, 
April 6, 1888. 

Price, ...---- 35 cents. 

THE PEAK SISTERS. 

A humorous entertainment for young ladies. Arranged by Mary B. 
HoRNE. Any number of ladies may take part, but -seven only are 
necessary. No scenery; costmnes very simple. This laughable 
trifle meets with invariable success wherever performed. 
Price, ...---- 15 cents. 

THE BOOK OF DRILLS. 

A «roup of entertainments for female characters for stage or floor 
formance, by Mary B. Horne, the author of " The Peak Sisters 

Price, aOcenU. 

WALTER E BAKER & CO., Pnlsliers, 23 WlP* 



LIBRARY OF CONGRESS 

A NEW PLAY FOR FEMALE 1||||||||||||||||| 
Or, Our Girls in Camp. 

By Esther B. Tiffany, author of "A Rice Pudding," "That Patrick," 

"Young Mr. Pritchard," etc. 

Price, - - 35 cents. 

This is a bright and sparkling comedy in three acts, for eleven 
female characters. Its story is entertaining, and its dialogue dis- 
tinguished by this author's delicate humorous touch. One scene only 
is necessary for the three acts — a camp in tlie woods, easily arranged. 
The dresses are simple and picturesque camping costumes. Ihe enor- 
mous success of " Rebecca's Triumph " has created a demand for this 
sort of piece, to meet which we confidently present "Anitas Irial, 
in which is solved, with no less success than in its predecessor, the 
difficult problem of constructing a play of strong human interest with- 
out the assistance of male characters. 



